Cygnenoir - I wouldn't exactly describe a few amateur reviews on fan boards as a "U.S. triumph" for Alina Somova. With all due respect to my fellow fan-posters, I have yet to read a positive legitimate (professional) review of her Aurora (or any other role, for that matter). Of course, that won't hold the MT management from throwing Somova into the role of Aurora back home.

I agree with you that Daria Pavlenko IS a true, wonderful ballerina. Unfortunately, her stature back home (among long-time Mariinsky fans in the 'upper galleries') is not what it is abroad. Heavens, I'll never forget the negativisms whispered about Pavlenko during her debut as Nikiya at the premiere of the new-old Bayadere on June 1, 2002! I was in one of the 'cheap seats' and was frankly embarrased for Pavlenko...as if the decks were stacked against her.

Then again, the old-guard don't care for Somova either. I was in not-so-cheap-seats last March, for her Nikiya in 'Shades' at the Corps de Ballet Gala during the Mariinsky Ballet Fest & Somova received the coolest of responses imaginable. Neither was Clement Crisp very impressed, writing for the Financial Times.

Who do Petersburgers seem to love the most, among ballerinas? They DO love Lopatkina (of course), Vishneva, Dumchenko, Osmolkina and, to a slightly lesser degree, Novikova. Oh...and they ADORE Obraztsova's Juliet and Sylphide. Makhalina was extremely popular in her heyday & Zakharova was very loved and appreciated. It's not a matter of extensions; it's a matter of what 'locals' perceive as finesse and musicality. I don't always agree with 'the locals' -- I may agree with them on Somova but absolutely do NOT agree on their downplaying of Pavlenko.

p.s. - I tip my hat off to Vasiyev & Company for granting Pavlenko a Gala Evening at the Mariinsky Festival last March (along with Gala Evenings for Lopatkina, Vishneva & Corps de Ballet). That, at least, was a step in the right direction.

Natalia re A. Somova that was subtle & diplomatic sarcasm! I'm sorry you didn't get my drift . . . (fear of the censors). Next time I'll come right out and say what's really on my mind like Ripowam ! I agree with you - I emphatically do not think she has what it takes. She belongs in the corps and ought to remain there for the duration. That said, Olga and Makhar are on a mission impossible. They are positively undeterred: Somova will be a prima ballerina and dammit they're going make all of us like it LOL!!!. I wholeheartedly co-sign on ALL the points you've made regarding Dasha. Bless you and thank you for laying out her plight so eloquently!

Last edited by Cyngenoir on Wed Oct 26, 2005 4:15 pm, edited 1 time in total.

Alina's "fans" don't care much what she is or isn't going to dance in far-away St. Petersburg, Russia. As long as she continues to dance for us, that is She brings people JOY!

Thank you. A lot of criticism I've read of this company has nothing to do with dance, and everything to do with things happening outside the performance that they aren't really useful to know. Perhaps it's because the art form is so ephemeral that people need something substantial to hang their opinions on. Because the art form is so ephemeral, the most imporant thing is what happened on that stage that night, without further extrapolations to company management, remote fan bases, etc.

Thank you. A lot of criticism I've read of this company has nothing to do with dance, and everything to do with things happening outside the performance that they aren't really useful to know. Perhaps it's because the art form is so ephemeral that people need something substantial to hang their opinions on. Because the art form is so ephemeral, the most imporant thing is what happened on that stage that night, without further extrapolations to company management, remote fan bases, etc.

Andre, you a Genius!
Indeed I could care less what anybody whispers in the Byzantine pathways of Mariinsky or any other theatre for that matter. All I care about is what I see on stage and what I feel watching the performance. Gosh, I’ve seen enough Sleeping Beauties to know the difference between good, very good and extraordinary. I certainly don’t know or care who Makar or Olga are

All I care about is that Alina and Andrian for few hours... just for few, or so very short hours, made me forget, completely forget of any life problems, of any world’s problems and make me believe or rather feel that the world is here for us to enjoy. And I am deeply deeply grateful to both of them.

~hugs~

Last edited by fedora on Wed Oct 26, 2005 4:50 pm, edited 1 time in total.

Fedora, Andrew - OK I understand where you're coming from. But consider: What you see in performance is a direct parallel
of what is going on backstage, whether it be in the wings, in the rehearsal studio, in the back office, or in company class. What happens offstage determines what happens onstage. That's true of any troupe anywhere
in this world.

PS: Trust the L.A. Times (that rag), to publish incorrect data on the dancers. Reporter Chris Palses stated that Novikova was 19 (October 6 issue). Fedora you're right, Olesia is 21, a coryphee, and IMO an ok, and as you say decent Aurora. I didn't state that she was incorrect in what she did, and I didn't state that she was a corps member. I stated that corps casting in leading roles seems to be company policy and that there are certain caveats to deal with when this is the preferred practice.
Olesia just needs more tutoring, and add to that more life experience and personality. At these prices, I expect much more than an ok - phoned in performance. On Oct 9 that's what she offered up. Apparently in Detroit she was warmed up. With Moiseyeva's oversight, in two years perhaps she will be "very decent" and more consistent. 'Makhar and Olga' are Makhar Vaziev, Artistic Director of the Maryinsky Ballet, and Olga Tchyentchikova - former Maryinsky star and principal dancer, Vaziev's wife, and the coach of Alina Somova, Dumchenko, (sometimes Vishneva) and other hopefuls.

Last edited by Cyngenoir on Wed Oct 26, 2005 5:21 pm, edited 1 time in total.

It's perfectly all right, Cyngenoir... really I am glad that we are talking. It only shows how much we love Kirov!

BTW, I do know of Olga Chenchikova. When you called her by her first name it didn't register right away - sorry about that. Olga is on DVD called Kirov Ballet at Covent Garden, dancing Paquita, I believe. Madame Chenchikova also coaches Elena Vostrotina, Detroit’s Lilac Fairy, who turned 20.

~hugs~

Last edited by fedora on Fri Oct 28, 2005 8:11 pm, edited 2 times in total.

My point is that while there may be all sorts of questionable machinations going on behind the scenes, the only thing we can truly comment on is the result we actually see on stage. Trying to relate the quality of the performance to backstage intrigues is just pure speculation often based on incomplete or imaginary information, and doesn't really do anyone any good.

If you don't like the fact that certain Bluebirds didn't do the double battu for their assemble, then say so. But to attribute this to poor coaching, poor work ethic, or whatever else is speculation, and unfair to the people involved.

Hi Andre,
Your observation about ballet being ephemeral is profound and fundamentally correct. You say that what happens on stage that very evening is what really matters? You bet! When dancers are “on” and the principles are inspired, for whatever reason, they bring us tremendous JOY and there is nothing, absolutely nothing to compare it with. Am I wrong? It’s only natural that we would want to share our feelings with other like-minded people.
Alas, there're always those who would try to spoil it. Like I have been classified as Alina’s “fan”, that she herself has “limited talents” and the only people who know right from wrong are the ones in Russia, thousands of miles away! It’s much more common to read this sort of things on ballet alert. And this is the reason I don’t go there. CD, on the other hand, maintains higher standards, steering away from speculating on companies’ policies, rumors, blant statements and disrespectful remarks towards artists. I hope it stays that way. Because, if you think about it, never in a million years we, the spectators, would be able to give to ballet dancers as much as they give us. I hope we can all agree at least on that

OK. I’ve finished my report on the Sleeping Beauty. HereI might later add a few words about Leonid Sarafanov. He is the new Kirov heartthrob. He is very impressive as a dancer ...
... O la la
... ... and charming

Stay tuned

Last edited by fedora on Mon Oct 31, 2005 2:40 pm, edited 7 times in total.

Post subject: The Kirov Ballet with the Orchestra of the Mariinsky Theatre

Posted: Sun Oct 30, 2005 12:55 pm

The Kirov Ballet with the Orchestra of the Mariinsky Theatre of St. PetersburgDetroit Opera HouseThe Sleeping Beauty

A WONDER BOY AND A DANSEUR NOBLE

Leonid Sarafanov who partnered Olesya Novikova in Detroit is certainly a virtuoso. In addition to his complete mastery of allegro, there is a curious quality to his grand jete and grand batterie as he seems to be suspended in the air before coming down to Earth to join the rest of the planet’s population. This drives audiences wild!

On stage Leonid is an extravert to the extreme, so his stage persona is no mystery. I also saw him in Le Corsaire with Somova last summer and he seems to be a reliable partner. But this is where his partnering skills end. Leonid's Desire doesn’t seem to care much about his Princess. His character is not a young man in love, but rather heir to the throne, who came of age and is obliged to select a suitable bride, preferable one who is pretty. Nevertheless he is an exciting performer to watch.

Vladimir Shklyarov, who partnered Ekaterina Osmolkina is a 2003 Vaganova graduate. But despite of his tender age he produces a more mature impression on stage than Leonid. His style and his bearing reminds me of Roberto Bolle of La Scala. Vladimir’s technique is solid, lines are long and clean and manner is princely. He is danseur noble in making, not to mention his striking good looks.

ABOUT THE ARTISTS:

Leonid Sarafanov. Soloist.
Leonid was born in Kiev, Ukraine.
He graduated from the Kiev State School of Choreography in 2000.
Picture Portrait

Vladimir Shklyarov. Coryphee.
Leonid was born in St. Petersburg, Russia.
He graduated from the Vaganova Ballet Academy in 2003.
Les EtudesPortrait

No story of Kirov show can be complete without mentioning corps de ballet of the Mariinsky theatre. Andre, you put it so well:

Quote:

What can you say about their corps that hasn't been said already? The unity of motion, style, and effect is amazing --- seeing all those gorgeous shoulders, arms, and backs moving as they do in this company has got to be one of the wonders of the dance world.

To me, it simply IS one of the seven wonders of the modern world, along with the US Interstate Highway System and Seven Mile Bridge in Florida!
La BayadereLes EtudesLa Sylphide

One of the fun things about going back to a ballet for the second or third time is to see the different casting. Major companies like the Kirov usually rotate the principal casts of a ballet, partly so principals can rest a bit between performances, but also to show off the many different dancers in the company.

H-he-he! I am mighty glad that Stuart has combined Mariinsky and Kirov Tours into one topic. I’d been hanging out at this site for awhile, but did not even suspect that CD has its own foreign correspondent in St. Petersburg, Russia! It’s great that we, incorrigible Kirov fans are finally all together, like one big happy family

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